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THE LIBRARY OF ARCHITECTURAL DOCUMENTS 
VOLUME II] 


NEW YORK 
Hides dre NMC IUE SOBER ES coke Sisy eI MNEE 
12924 


SBolle ILA MRe (Qe 
ARCHITECTURAL DOCUMENTS 


RAWINGS and photographs of the architecture of the past are indispen- 
LD sable in the practice and in the study of architecture. However, the 
books of plates containing such drawings are so costly that many archi- 
tects are obliged to work under the handicap of an inadequate library and most 
draftsmen and students must depend entirely upon the books in the office or school, 
when they might derive much inspiration and development from studying such 


books at their leisure. 


Knowing this condition and having found that the plate pages from old works 
on architecture published in PENciL PornTs are appreciated by a large number 
of readers, the publishers of PENcrL Points have begun the publication of a series 
of reprints of old books of architectural plates under the general title of ‘The 
Library of Architectural Documents,” with the purpose of making this material 
available for every one at as moderate a price as is consistent with a satisfactory 
presentation of the matter, not costly publications of limited appeal but a practical 


working library. 


This, the third book in ‘The Library of Architectural Documents,” com- 
prises one hundred selected plates reprinted from “Cathédrales de France” and 
“Monuments Historiques,” composing the great work in which carefully chosen 
examples of French architecture were shown by drawings and photographs from 
the archives of the French Government Commission on Historic Monuments. 
The original work, which was costly, has been out of print for some time, and 
few are so fortunate as to possess it or to be able to obtain access to it. From 
this rich store of material one hundred plates representing monuments of French 
Gothic Architecture have been reproduced to form the present book, in conjunc- 


tion with text matter by John V. Van Pelt. 


The fourth and fifth books in “The Library of Architectural Documents” 


will be devoted to French Romanesque and to Spanish Architecture, respectively. 


These will be followed by other volumes, rounding out the series into a 
reference library embracing a wide range of the best material presented in such 


a way as to meet the requirements of the architectural profession. 


Pelee e im ViONWV EIN TS OF FRENGH 
SOK eni LECTURE 


HERE have always been tides of fashion. ‘There 

f are: still. The crinoline sprouted in vast abun- 

dance to be followed by clinging folds; the long 
skirt by the short. But these tides ebb only to flow 
again. My mother, who after my father’s death always 
wore black, used to say that she found it convenient to 
retain the same style of dress and that every tenth year 
her costumes became the height of fashion. 

In art, Greek turned his back on Egyptian, Roman on 
Greek, the early Christian on the Roman. But there 
were refluxes. “The Renaissance harked back to the 
Classic. “True the more beautiful Renaissance buildings 
were quite unlike anything to be found in Rome but 
Roman influence permeated the period. So Spanish 
Romanesque was revived in Richardson’s buildings and, 
nearer today, Italian Renaissance in McKim’s. 

During the later half of the Nineteenth Century, 
Gothic appeared as a dominating influence in church 
design in America. Sometimes the results were good, 
sometimes very bad. Much of this work was confined 
to the restricted period of English Gothic and at one time 
a veritable craze for English churches blinded Americans 
to the noble grandeur and charming grace of the build- 
ings of France from which the impulse in England it- 
self had been derived. 

With the early Twentieth Century Gothic church 
before us no one would dare say that this influence on 
modern architecture has disappeared, nevertheless there 
was certainly a diminution of the tide in that direction, 
and the skyscraper appeared in a form that was usually 
clad in Classic or Renaissance garments. 


A peculiar characteristic of Gothic is its accentuation 
of the vertical line. This was a natural outcome of the 
essence of the period’s development. ‘The fashion of the 
Twelfth Century was to diminish the size of points 
of support and to uphold the vaults on slender ribs so 
that a thin filling between the latter might take the 
place of the weighty barrels and domes of Romanesque 
days. ‘These thin shafts had a function not unlike that 
of the steel columns of our present day skeleton con- 
struction. That this has been felt is evidenced by the 
West Street Building, the Times Building, the Bush 
Terminal Building, the Woolworth Building and the 
Hampton Shops Building. Now, during the last year 
has come the Chicago Tribune’s Competition with its 
plea for the most beautiful tower in the world and the 
response couched in Gothic terms has been clear proof 
of the wideness of the feeling that that style is pecu- 
liarly adapted to modern commercial architecture. 

In 1830 a far reaching historical movement swept over 
France and Michelet, Guizot and Thierry, whose names 
have since then grown bright as stars of the first mag- 
nitude among the constellations of historians of the world, 
took up their researches in the national archives of the 
French State. Restorations of the decaying monuments 
of France, that glorious abiding place of beautiful archi- 
tecture, were initiated in 1837 by an Act of the Ministry 
of the Interior and the masses of the people, until then 
indifferent to the depredations of vandalism, were aroused 
to a loving respect for the relics of their past national 
greatness. 

The original Commission of Historic Monuments 
placed in charge of this work was composed of eight 


members, but in 1887 a revision of the law was enacted 
so that, on the 30th of March, 1889, the Commission 
was increased to thirty-seven and included the most noted 
members of the administration, archaeologists and archi- 
tects of the period. 


In the prosecution of their work, a vast number of 
measured drawings were accumulated, some of them of 
the actual condition of the buildings, some of them show- 
ing the restored condition, a faithful reproduction of the 
original design. “Thus this work, still in progress, has 
extended over a long period of years. By the early 
part of the Twentieth Century it had assumed really 
imposing proportions. 

The authors of these drawings were men whose 
names are now famous, Viollet-le-Duc, Rouillet, Ballu, 
Boeswillwald, Raulin, Toussaint, Formigé, De Baudot, 
Questel Daumet, Blondel, Normand, Paulin, Sauvageot 
Corroyer, Lucien Magne, and a host of others too 
numerous to set down here. 


‘The enormously valuable collection of documents was 
practically closed to the public until A. de Baudot and 
Perrault-Dabot approached the Ministry of Public In- 
struction and the Director of Fine Arts with a request 
that a selection from it might be published. De Baudot 
was the Director of Diocesan Edifices and Perrault-Dabot 
the curator or archivist of the Commission of Historic 
Monuments. ‘Their proposal found immediate favor 
and a special committee was formed to select the draw- 
ings, edit the work and place before the world the most 
interesting portions of the collection. The committee in- 
cluded A. de Baudot, Perrault-Dabot, Lasteyrie, a mem- 
ber of the Institute of France, Selmersheim, Chief In- 
spector of Historic Monuments, A. Michel, Curator of 
the Louvre, and three members of the Commission of 
Historic Monuments. Five volumes of one hundred 
plates each were published and to these were added two 
volumes of the Cathedrals of France, increasing the 
total number to some six hundred and fifty plates. When 
one remembers that the majority of the plates contain 
half a dozen or more drawings, the tremendous amount 
of work of the very first order here given to the archi- 
tectural profession becomes overpowering. 

The plates are reproduced in heliogravure, a certain 
number showing photographs or water color drawings in 
perspective, the remainder plans, sections and elevations. 
Each plate is accompanied by a short descriptive sketch 
of the building and the whole by valuable historical dis- 
cussions of the different periods which extend from early 
Christian to modern times. 

Unfortunately this work, originally an expensive one, 
has for a number of years been entirely out of print. 
Thus it is quite unavailable for use to the majority of ar- 
chitects in America. In view of the urgent need that is 
presenting itself for reliable documents on French Gothic 
the editors of the present book conceived the idea of 
selecting from this monumental work of the French 
Government and its representatives, the most interesting 
examples of Gothic contained in it, skimming the cream, 
as it were. In doing so an underlying motive has been 
to bring together those designs that are best suited to 
become inspirations for modern use, especially for busi- 
ness and office buildings, rather than as a mine from 
which to extract and mint new churches, copies of 


tnose of the old country. Unquestionably the church 
architect will tind the present selection rich in inspira- 
tion for his peculiar specialty, but the hope of the editors 
is much broader than that. Just as Thirteenth and 
Fourteenth Century England brought forth a new 
Gothic within the confines of her sea bound shores, so 
might our distant country, although impelled by a dif- 
ferent emotional urge, influenced by other economic re- 
quirements, and at once limited and driven forward in 
the use of new materials and methods of construction, 
utilize those elements of that beautiful and logical devel- 
opment of the architectural past to create another ex- 
pression of Gothic that shall contribute its own quota 
to the sum total of the art of the world. 


The following descriptions of the selected plates are 
culled from those of the original work. Necessarily cur- 
tailed, we hope that they may sufficiently fulfil their 
purpose of suggesting the period to which the building 
belongs, its location or family connections, and any neces- 
sary technical information about the indications on the 
drawings. Obviously the numbering deviates from that 
of the original. 


Plate I (Page 13), Saint-Sauvery, Cathedral of Aix- 
en-Provence (Bouches-du-Rhone). “Che nave and aisles 
are of different periods, the nave being Fourteenth Cen- 
tury, the northerly aisle Seventeenth Century, while the 
original choir was Eleventh Century. The porch and 
tower shown here are Fifteenth Century additions but 
despite the lateness of the period the contrasts of orna- 
mented and plain surfaces and the relegation of inverted, 
unstructural arched forms to purely decorative motives 
endow the design with a charm that is not diminished 
by any suggestion of illogical structural unsoundness. 
The cornice, parapet, decorated buttresses and finials 
contain suggestions that would be useful in clothing the 
vertical and horizontal lines of modern skeleton 
structures. 


Plate II (Page 15), Sainte-Cécile, Albi (Tarn). The 
cathedral was begun in 1282, finished in 1512 and built 
of brick. ‘The single nave is 31 metres high and is deco- 
rated with painted ornament. ‘The view selected shows 
the Fifteenth Century rude screen, or jubé, where, as in 
the preceding plate, the accentuation of vertical and hori- 
zontal is suggestive. 

PlatessT11) TV, °Vi2 Vi cand sV lie{ ares 7. Sar 
23, and 25), Notre-Dame, Amiens Cathedral (Somme). 
Ruskin considered this the most beautiful nave of the 
whole Gothic period. In its accentuation of the vertical 
it contrasts with the Spanish type, notably that of 
Seville, where broad proportions achieve their effect in 
an entirely different way. Amiens Cathedral was begun 
in 1220 from the designs of Robert de Luzarches. ‘Thomas 
de Cormont, Renault de Cormont and Pierre Largent 
succeeded him as architects and the church was finished 
in 1366. The nave is 15 metres wide and 42 metres 
95 centimetres high. The clerestory windows are 12 
metres in height and fill the whole space between the 
piers. The total length of the church is 133.10 metres. 
Necessary repairs were made between 1850 and 1875 by 
Viollet-le-Duc. Page 25 shows an especially lovely bit 
of Gothic detail. 

Plate VIII (Page 27), Notre-Dame, Bayeux (Cal- 
vados). An early Romanesque church was destroyed by 
fire in the Eleventh Century, a reconstruction had a 
like fate in 1107. The present church was begun in 
1159 and finished about 1231, although some of the 
chapels and the main porches appear to have been built 
in the Fifteenth Century. The details of the pier shafts 
are instructive. 


Plates 1X, -X, XI ‘and XII] {Pages 29.3133 and 
35), Saint-Fierre, Beauvais (Oise). This cathedral, 
begun on the largest scale of any in France, never pro- 
gressed farther than the choir and transepts. It was 
begun in 1225. ‘Lhe nave is actually the highest of the 
Gothic period, rising to an elevation of 48 metres above 
the tioor, while the roof ridge is 6% metres above the 
hoor. tn this building the window treatment and _pos- 
sibly such tracery as that of Page 35 might be used as 
a point of departure in the design of a large modern 
hall where light is required. 

Plate XII1 (Page 37), Saint-André, Bordeaux, (Gi- 
ronde). ‘he choir and transepts are of the Thirteenth 
and Fourteenth Centuries, the west end of the nave older. 
The facade shown is that of the north transept. 

Plates XIV, XV, XVI, XVII and XVIII (Pages 39, 
41, 43, +5 and 47), Saint-Etienne, Cathedral of Bourges 
(Cher). The structure here consists of an upper and 
lower church. The latter, of the Eighteenth Century, 
envelopes a Romanesque crypt placed under the choir 
of the upper church. ‘The north and south transept 
porches, of which one is shown on Page 45, are 
probably of the period of the crypt, but the beautiful 
carved door is unquestionably Gothic, as is the main 
west porch, Page 47 

Plate XIX (Page 49), Saint-Francois-de-Sales, Cham- 
béry (Savoie). The church was built in the Fourteenth 
and Fifteenth Centuries, the unfinished facade shown 
here in 1509. While the resulting effect cannot be recon- 
ciled with the Gothic of France, it does not lack beauty 
in its simplicity of form and depth of shadow. There 
is something Italian in the projection of the temporary 
extension of the nave roof and if the idea were skillfully 
adapted to modern use, the whole might be made har- 
monious and the charm of the ensemble retained. 

Plates XX, XXI, XXII, XXIII and XXIV (Pages 
51, 53, 55, 57 and 59), Notre-Dame, Cathedral of Char- 
tres (Eure-et-Loire). This famous building, like Bourges, 
consists of an upper church and of an immense crypt, the 
latter, part of an early church destroyed in 1194. The 
reconstruction of the new, upper church was finished in 
1260. Several chapels were added at later dates and the 
sacristy was built in the Fourteenth Century. The north 
spire is in stone and of the early part of the Sixteenth 
Century. It reaches a height of 117 metres. The tran- 
sept porches, see Page 55 for the one on the north 
side, were added about 1240 and are unusually beauti- 
ful on account of the play of light and shade. The main 
porch of the west facade is of the purest Gothic period 
and the sculptured figures are conventionalized with 
such consummate skill that they fit perfectly into the 
vertical allignment of that portion of the design in which 
they play such an important role. It is interesting to 
note how at intervals a plain shaft has been introduced 
as a foil to these beautiful figures. 

Plate XXV (Page 61), Notre-Dame, Evreux (Eure). 
The nave is Romanesque up to the triforium, the upper 
portion Thirteenth Century. The transept, choir and 
side aisles are of the Thirteenth and Fifteenth Centuries. 
The fleche that terminates the tower is Fifteenth Cen- 
tury and reaches a height of 73 metres. It is of wood 
covered with lead. 

Plate XXVI (Page 63), Saint-Etienne, Limoges 
(Haute-Vienne). The present church, which replaces a 
Romanesque one, was begun in 1273 but no more than 
the choir had been completed in 1408. Successive periods 
of enforced inactivity supervened so that the building was 
only finished in the latter part of the Nineteenth Cen- 
tury. Modern work has been made to harmonize as 
much as possible with the old. The flamboyant Gothic 
north transept, the view shown here, is one of the best 


examples of that period and was almost entirely completed 
between 1515 and 1545, 

Plates XXVII and XXVIII (Pages 65 and 67), 
Saint-Etienne, Meaux (Seine-et-Marne). Saint-Etienne 
of Meaux was begun in 1170 but with such poor mate- 
rials that an entire reconstruction was undertaken in 1268. 
Work progressed slowly though more or less continuously 
so that the north tower was not completed until the 
middle of the Sixteenth Century. The building was 
restored during the later half of the last century. 

Plates XXIX and XXX (Pages 69 and 71), Notre- 
Dame et Saint-Privat, Mende (Lozére). The original 
church belonged to the Fourteenth and Fifteenth Cen- 
turies and the towers were begun in 1508 and 1509. 
In 1579, Calvinists sacked the building and destroyed 
all but the towers and the two apsidal chapels. ‘The 
present interior is therefore the best reproduction of 
Gothic that Henry IVth in the Seventeenth Century 
could produce or afford. Nevertheless, despite its plain- 
ness the simplicity of the interior has a distinct charm. 

Plate XXXI (Page 73), Notre-Dame, Moulins 
(Allier). The choir of this church was built between 
1465 and 1507 but the nave, west front and towers are 
modern (Eighteenth Century work), from the designs 
of Viollet-le-Duc. ‘The sweep of the flying buttresses of 
the old construction is of interest and is accented by the 
gutters. 

Plates XXXII and XXXIII (Pages 75 and 77), 
Saint-Pierre, Nantes (Loire-Inférieure). This is the 
only French church built entirely in Fifteenth Century 
Gothic. Even here the nave, side aisles and west front 
were alone the portions actually constructed during the 
Middle Ages. ‘The remainder of the church is modern, 
but finished in the original style. ‘This curious inversion 
of the usual procedure, where the choir antedates the nave, 
was brought about by the existence of an earlier Roman- 
esque choir. In the nave it is apparent that Gothic has 
had time to fully develop: the line of each vault rib is 
carried up from the ground. 

Plates XXXIV, XXXV, XXXVI and XXXVII 
(Pages 79, 81, 83 and 85), Notre-Dame, Cathedral of 
Paris (Seine). This is one of the most beautiful and 
perhaps the best known of the French Gothic Cathedrals. 
A particularly attractive view is that from the southeast 
showing the apse, fléche and flying buttresses in the fore- 
ground. ‘The interior dimensions of the building are: 
length, 130 metres, width, 48 metres, and height, 33.77 
metres. There is a main nave and double side aisles. 
The church is surrounded by 37 chapels. Viollet-le-Duc 
designed the lovely fléche. It is built of oak covered 
with lead and reaches a height of 95 metres above the 
ground. 

Plate XX XVIII (Page 87), Saint-Corentin, Quimper 
(Finistére). he choir and apse of this cathedral were 
begun in 1239, the collaterals of the choir are of the 
Fourteenth Century, the main nave, transepts and central 
vault Fifteenth Century. The greatest variety of style 
is apparent. The spires were completed between 1854 
and 1856. ‘The interior dimensions are: length, 92.45 
metres, width, 15.70 metres and height of nave, 20.20. 
An interesting characteristic of the plan is the inclina- 
tion of the axis of the nave toward the north. It is to 
be found in other churches of that time. 

Plates XX XIX, XL and XLI (Pages 89, 91 and 
93), Notre-Dame, Reims Cathedral (Marne). The 
Great War has turned the limelight of history so vividly 
upon this beautiful building that it is now the most 
noted example of Gothic art. Without such notoriety 
it deserved a foremost place in the consciousness of all 
art lovers, and although it may lack some of the sturdy 


virility of Paris and Chartres, its lacy loveliness, har- 
monious proportions and aspiring lines place it in the 
first rank of the great monuments of this great period. 
It belongs to the first half of the ‘Thirteenth Century. 
Ihe architect was Jean d’Orléans and only the upper 
part of the west front and the two towers remained to be 
completed in the Fourteenth Century. ‘The spires intended 
tor both towers were never finished. A fléche at the 
intersection of the transepts and nave was destroyed by 
fre in the end of the Fifteenth Century. Restorations 
done with material of poor quality were undertaken dur- 
ing the latter half of the Nineteenth Century. As the 
result of the vandalism of the Germans, restorations have 
again been begun. ‘Lhe building is 138.70 metres long, 
49.45 metres wide at the transepts and the nave, 38 
metres high. 

Plates XLII and XLIII (Pages 95 and 97), Notre- 
Dame of Rouen (Seine-Inférieure). Rouen may be 
called the most picturesque of the French cathedrals. A 
part was built during practically each Gothic period and 
the more specifically French Gothic influence warred 
with Norman in the evolution. The building was begun 
in the Twelfth Century, minor parts destroyed by fire 
in 1200, the lateral porches of the west front and the 
north tower of Saint-Romain remaining. ‘The nave 
transepts and choir were rebuilt in the Thirteenth Cen 
tury and the south tower in the Fifteenth Century. The 
upper part of the north tower was added in the Sixteenth 
Century and an openwork spire of wood covered with 
lead surmounting the central tower was late Sixteenth 
Century work. In 1882 lightning destroyed the central 
spire and it was rebuilt of cast iron between 1827 and 
1877. The vault of the central nave supports its key- 
stone 28 metres above the church floor, 


Plate XLIV (Page 99), Saint-Pierre, Saint-Claude 
(Jura). The plate is full of the severe character of the 
Middle Ages, this end of the church being the part that 
was built in the Fourteenth Century. The west end 
was finished during the reign of Louis XV. The simple 
buttresses of the apse with their long vertical lines and 
windows entirely filling the intervening spaces might be 
useful in the designing of a modern office building. 

Plate XLV (Page 101), Saint-Dié, Saint-Dié ( Vos- 
ges). This church belongs to the Eleventh, Twelfth and 
Thirteenth Centuries, the chapels to the later period. 
They do not correspond to the main buttresses but are 
perhaps all the more picturesque for that reason. ‘The 
west front is Doric of the Seventeenth Century. 

Plate XLVI (Page 103), Saint-Flour, Saint-Flour 
(Cantal). The building belongs to the Fourteenth Cen- 
tury and will prove a delight to those who take pleasure 
in simple wall surfaces. It has an advantage over the 
Cathedral of Mende, Page 71, in that the intrados 
of the arch between the nave piers is not rounded off and 
therefore has greater force and strength. The beauty 
of the detail of the pulpit is intensified by its background. 

Plate XLVIT (Page 105), Notre-Dame, Séez (Orne). 
The cathedral of Séez is Thirteenth Century. Defective 
foundations explain the enormous buttresses. The ver- 
tical lines of the towers are inspiring, the openwork spires 
beautiful in detail and silhouette and the upper portion 
of the fagade of the south transept a gem. 

Plates XLVIII and XLIX (Pages 107 and 109), 
Saint-Etienne, Sens (Yonne). ‘This cathedral has been 
ascribed the place of the oldest Gothic monument, al- 
though Viollet-le-Duc gives the palm to the Abbey of 
Saint Denis. The latter was begun in 1137, so Sens may 
have had its birth in 1140. Indeed the main portion of 
the church was probably built during the latter part of 
the Twelfth Century. The walls and vaults above the 
triforlum were changed at the end of the Thirteenth 


Century; also the date of the major portion of the west 
facade, although the central door and north tower are 
Thirteenth Century. The south tower, including the 
gallery of bishops, is of the end of the same century but 
the clock tower above it and the belfry and campanile 
belong to the Sixteenth. The transepts are 1490-97, 
(Page 109), and 1501-16. The ‘Thirteenth Century 
Officialite to the south of the church (one bay shows 
in the photograph) is most interesting. 

Plate L (Page 111), Saint-Gervais-et-Saint-Protais, 
Soissons (Aisne). Soissons is the most beautiful and the 
most complete of the smaller cathedrals. It belongs to 
the latter half of the Twelfth Century and the earlier 
part of the Thirteenth. It is 100 metres long and nave 
vault is 33.30 metres high. ‘The pier details are par- 
ticularly instructive. 

Plate LI (Page 113), Saint-Pierre, ‘Troyes (Aube). 
This cathedral was begun in 1208 and the choir, tran- 
septs and the last bay of the nave are Thirteenth Cen- 
tury. It progressed slowly during the next three cen- 
turies and has in it examples of all periods. The apsidal 
chapels are strikingly picturesque. 

Plate LII (Page 117), Church of Auvers (Seine-et- 
Oise). Here we have a transition or early Gothic build- 
ing (Thirteenth Century) but all of the same period 
except for the Twelfth Century Romanesque apsidal 
passage on the left of the choir in the perspective. It 
seems to nestle like a little chapel between the choir and 
the transept. 

Plate LIII (Page 119), Church of La Chapelle-sur- 
Crécy (Seine-et-Marne). It is a Thirteenth Century 
building, somewhat changed in the Fifteenth Century, 
which left its mark in the three unusual triforium arches 
seen at the left of the section. 

Plate LIV (Page 121), Bishops’ Palace of Laon 
(Aisne). This building is now the Court House. It is 
Thirteenth Century Gothic and the main hall, of which 
the pointed arched windows are seen in the section, was 
built about 1242. 

Plates LV and LVI (Pages 123 and 125), Abbey of 
Saint-Martin-des-Champs at Paris. The priory was 
founded in 1061 and rebuilt in the Thirteenth Century. 
It is now the Conservatory of the ‘“Arts-et-Metiers.”’ 
The beautiful door, Page 123, now in the library, was 
originally that of the cloister which preceded the hall 
now next to the library. Although these unusually fine 
details bear the stamp of a well developed art, some anti- 
quarians believe that they really date back to the ‘Iwelfth 
Century and that they were only restored in the 


Thirteenth. 


Plate LVII (Page 127), Cloister of Saint-Jean-des- 
Vignes, Soissons (Aisne). We have here a beautiful piece 
of Thirteenth Century Gothic with an interesting example 
of the way in which, at that logical period, needless but- 
tresses were omitted in a corner. : 

Plates EVIL, LUX, duxXand IEXI> (Pages: $29.5 1315 
133 and 135), Chateau of Pierrefonds (Oise). In it 
we see the most important specimen of military archi- 
tecture in France. It was also, in its day, one of the 
most sumptuous residences of the period. Built by Louis, 
Duke of Orléans, brother of Charles VI, in the latter 
part of the Fourteenth Century, after a siege in 1616, 
the chateau was taken and the greater part of it razed 
to the ground. Napoleon III restored it and appointed 
aaa Pi to direct the work. It was almost finished 
in 1870. 


Plate LXII (Page 137), Church of Tillard (Oise). 
This picturesque little edifice was built about 1340. It 
has a vaulted wooden ceiling with apparent trusses. 


Plates LXIII and L-XIV (Pages 139 and 141), Chapel 
of the Chateau of Vincennes (Seine). This building 
belongs to the Fourteenth, Fifteenth and Sixteenth Cen- 
turies, “Che Renaissance architects took especial pride in 
working in the original Gothic style so that it is almost 
impossible to distinguish the later from the earlier work. 
The interior, of which the proportions are unusually 
beautiful, might serve as an inspiration for a modern 
hall of large proportions. Romanesque has been success- 
fully adapted to such uses, Gothic should offer as fertile 
a field. 

Plate LXV (Page 143), Old Houses at Provins (Seine- 
et-Marne). The Grange des Dimes is Thirteenth Cen- 
tury, the house of the rue des Capucines (middle right) 
only dates back to the Fifteenth or Sixteenth Century, 
while the Hotel Valuisant is of the Thirteenth Century. 
A certain type of modern restaurant might be improved 
by study of the houses of this period. 

Plate LXVI (Page 145), Town Hall of Saint-Quen- 
tin (Aisne). ‘The plate shows the condition of the build- 
ing (a Sixteenth Century design) in 1847. It was 
mutilated by unskillful restoration in 1850, but in 1899 
an effort was begun to remedy this. 

Plate LXVII (Page 147), Church of Pontorson 
(Manche). ‘This little Breton church was built in 1010 
but the choir was replaced in the Thirteenth Century 
and the heavy buttresses required to hold the old edifice 
were probably of the same date. 

Plates LXVIII, LXIX and LXX (Pages 149, 151 
and 153), Abbey of Mont-Saint-Michel (Manche). The 
abbey was founded in the Eighth Century but the oldest 
portions of the existing building are not earlier than the 
Eleventh. The church was finished in 1135. The first 
three bays of the nave were destroyed in 1776 and the 
choir which fell in 1421 was rebuilt between 1450 and 
1510. The buildings of the abbey proper, destroyed by 
fire in 1203, were reconstructed in the Thirteenth Cen- 
tury. This group of buildings has always been famous 
on account of its picturesque beauty. Henry Adams 
has made it still more famous by the beauty of his writ- 
ing. It has not been extensively shown in architectural 
publications and these plates are particularly interesting 
on that account. 

Plate LX XI (Page 155), Church of Saint Serge at 
Angers (Marne-et-Loire). The sanctuary, choir, lateral 
chapels and transepts date back to the Twelfth Century 
or at least to the beginning of the Thirteenth and are 
distinctly Plantagenet in character. The nave, its col- 
laterals and the main elevation are of the Fifteenth 
Century. 

Plate LX XII (Page 157), Church of Omonville-la- 
Rogue (Manche). This little Thirteenth Century 
church is by the sea and as a protection against the wind 
has no west porch. ‘The entrances are on the north and 
south at the westerly end of the church. The west win- 
dow has in it a very early example of Gothic tracery. 
The tower is also unusual and picturesque. 

Plate LX XIII (Page 159). On the left is the gate 
of Saint-Jacques at Parthenay (Deux-Sévres) and on the 
right that of Brest Dinan (Cétes-du-Nord). Both of 
these are Thirteenth Century constructions. “They show 
traces of Fourteenth Century restoration. 

Plate LX XIV (Page 161), Church of Saint-Ouen at 
Rouen (Seine-Inférieure). Here we have one of the most 
homogeneous and perfect examples of Gothic ecclesias- 
tical architecture not classed among the cathedrals. The 
church was begun in 1320. Its nave is Fifteenth Cen- 
tury, but in entire harmony with the choir. 

Plate LXXV (Page 163), Church of Tour (Cal- 
vados). The nave and transept are Romanesque, the 
cho'r and apse unusually fine Fourteenth Century Gothic, 


Plate LXXVI (Page 165), Dungeon of the Old 
Chateau of Dinan (Cotes-du-Nord). It consists of two 
coupled towers of the Fourteenth Century. 


Plate LX XVII (Page 167), Choir screen of the old 
Abbey Church of Fécamp (Seine-Inférieure). ‘This 
screen, built in the Fourteenth Century, was destroyed 
about 1894 or 1895, but its remains were gathered to- 
gether and the present plate is a faithful restoration of 
the screen made by Sauvageot. Such screens are unusual 
in France and this one is very beautiful. 


Plates LX XVIII and LX XIX (Pages 169 and 171), 
Church of Saint Maclou at Rouen (Seine-Inférieure). 
Saint Maclou, begun in 1437, was not finished till the 
beginning of the Sixteenth Century. It is a particularly 
interesting example of late French Gothic. 


Plate LX XX (Page 173), Choir screen of the chapel 
of Saint-Fiacre at Faouét. This beautiful Fifteenth 
Century screen is of carved wood. ‘The lacy details 
shown in grey tint no longer exist and are an attempt 
at a restoration by Mr. FE. Lambert drawn up in 1850. 


Plate LXX XI (Page 175), Church of Notre-Dame 
at Dijon (Cote-d’Or). Here we have the purest 
example of the Thirteenth Century architecture of Bur- 
gundy. ‘The west front towers were never finished. “The 
nave is 25 metres high. 

Plates LX X XII and LX XXIII (Pages 177 and 179), 
Synod Hall of the Archbishopric at Sens (Yonne). Here 
is a Thirteenth Century building that would lend _ it- 
self readily to adaptation as a college or school refectory. 
It seems a pity that fashion should have turned American 
architects so generally toward English work of the same 
period to the exclusion of the more virile French proto- 
type. 

Plate LXXXIV (Page 181), Old Hotel-Dieu or 
Hospital at Tonnerre (Yonne). ‘The great Thirteenth 
Century hall built for the patients has been changed into 
a chapel. It is 101 metres long, 21 metres wide and 
covered by a trussed wooden vault. The apse has stone 
vaults. It is extremely impressive in its simplicity and 
great size. 


Plate LXXXV (Page 183), Church of Saint-Urbain 
of Troyes (Aube). Here again the Thirteenth Century 
has bequeathed to us an example that can be utilized 
in modern work. ‘The spaces between the vertical piers 
and buttresses are entirely filled with a beautiful glass 
and tracery screen. 


Plate LX X XVI (Page 185), Clock Tower at Auxerre 
(Yonne). This is a Fifteenth Century construction. 


Plate LXX XVII (Page 187), Hospital of Beaune 
(Cote-d’Or). Here we have a Fifteenth Century group 
of buildings with a most picturesque gallery of carved 
wood. 


Plate LXX XVIII (Page 189), Church of Notre- 
Dame at Cléry (Loiret). The church, originally built 
in 1428 and fired by the English, was rebuilt toward the 
end of the Fifteenth Century. It is 83 metres long. 


Plate LXXXIX (Page 191), Batiment des Machi- 
coulis, Le Puy en Velay (Haute Loire). Adjoining this 
building is the famous cloister of Le Puy, a corner of 
which can be seen in the transverse section. “The main 
hall shown here was built up to the level of the modil- 
lions in the cloister during the Romanesque period. Th? 


upper portion of the building is Thirteenth Century. 

Plate XC (Page 193), Lava Crosses at Saint-Nectaire, 
Royat and Saint-Cirgues (Puy-de-Dome). Charming 
in their delicate lines, these Fifteenth Century crosses are 
sculptured from blocks of lava. The pedestal of the cen- 
tral one probably came from another cross. ‘The last on 
the right was carved toward the end of the century. 

Plate XCI (Page 195), Palace of the Popes at 
Avignon (Vaucluse). One of the most important Four- 
teenth Century military constructions, this half fortress 
was never taken by force. As an armory or a warehouse 
such a building would be of use today. 

Plate XCII (Page 197), Ramparts of Avignon. The 
ramparts of Avignon are of the same period as the Pope’s 
Palace, Fourteenth Century. The Porte St. Michel is 
particularly interesting and the room in the arch over 
the passageway is unusual. 

Plate’ XCIIT (Page 199), Old Cathedral of Saint 
Nazaire at Béziers (Hérault). The older portions of 
this church are Twelfth Century but the nave and apse 
are of the Thirteenth and Fourteenth Centuries. ‘The 
cloister is of the later date. 


Plate XCIV (Page 201), Church of Larroumieu 
(Gers). In the center of the plate is a plan of the town 
that shows the approaches to the church and to the right 
of it, at larger scale, a plan of the church and its cloister. 
The building is Fourteenth Century and has an interest- 
ing projecting roof that partakes of the southern char- 
acter not usually associated with French Gothic. 

Plate XCV (Page 203), Convent of the Jacobins at 
Toulouse. The church is one of the most beautiful 
constructions in brick of the Thirteenth Century. It 
has a very curious arrangement in plan as there is a 
line of columns on the main axis dividing the vaults into 
two equal sets. ‘There are no side aisles and originally 
there were no chapels. “Those around the apse are of 
the Fourteenth and Fifteenth Centuries. 


Plate XCVI (Page 205), Belfries of the Abbey Church 
of Brant6me (Dordogne) and of the Church of Montjoie 
(Ariege). The first of these is Twelfth Century. The 
second, which served as one of the fortified points of 
the town, is Twelfth Century in its lower portion, but 
the little campanile and the archivolte of the entrance 
door are Fourteenth Century and the upper parts of the 
two towers are probably Sixteenth Century. 


Plate XCVII (Page 207), Town Hall of Saint- 
Antonin (Tarn-et-Garonne). This beautiful structure 
is of the Twelfth Century. 


Plate XCVIII (Page 209), Old Abbey of Loc-Dieu 
near Ebbes (Aveyron). ‘The church is Twelfth Cen- 
tury with a Fifteenth Century apse and cloister. 


Plate XCIX (Page 211), Church of Villefranche-de- 
Rouergue (Aveyron). The church is of the Fifteenth 
Century and has a simple majesty that is commanding. 
Unfortunately it was never completed and the roof of 
the tower is a makeshift. 


Plate C (Page 213), Town Hall at Cordes (Tarn). 
This is the most interesting of the Gothic houses of the 
curious old town of Cordes. It was built in the Four- 
teenth Century and is well preserved despite the mod- 
ern use of the arcade. The restoration shows its original 
appearance. 

JoHN V. VAN PELT. 





INDEX 


CATHEDRALES DE FRANCE 


PEG ATHEDRAL OF «0.050500 0s A eat Sole nee 13 
EPPO ED RAT, OF cc.5 dire sae Peo Rcsls 6 ios viene « 15 
AMIENS, CATHEDRAL OF .......... Vie we 28,12 
Pee CAATEEDRAL, OF 4 020. a ew we tea ee . P4 
IBEAUVAIS, CATHEDRAL OF ........... PURSE REP Sis) 
BorDEAUX, CATHEDRAL OF ....... ees esi ae eee 3/, 
PeUEGES SC ATHEDRAL OF .........: 39, 41, 43, 45, 47 
CHAMBERY, CATHEDRAL OF ....... ee ere 49 
CHARTRES, CATHEDRAL OF .....-.. Si. Sy Soave Ge 
PPE PRE GARURDRAL OR. 0. cess avs sce seed oe es 61 
MOG sm ATHEDRAT, OF |... 5s bce stave ven s ae RES 
MO OPIGATEDEDRAT: OF «tat. ccu«s asses oes 65, 67 
MOBNDE CATHEDRAL, OF 2.40.4). .0 0 cones we O50 71 
MONUMENTS 
ABBEY OF MontT-SaAINnT-MICHEL ...... 149-151, 453 
ABBEY OF SAINT-MARTIN-DES-CHAMPS ........ 123 
Gea EenSERGES CUURCH AT ......5. 0855. 155 
Pe SINR CITIOR sc sis aces eves Gees anes eh iZ 
PreeerRe wOLOCk LOWER AT ....5..00+06005.0% e, 185 
AVIGNON, PALACE OF THE POPES AT....:....... 195 
PAMIGNON SIXAMPARTS OF .....5 6:20. by ary 197 
Deseo PIT DES MACHICOULIS...........0.6- 191 
BEAUNE, HOTEL-DieEv, or HOspiTAL, AT........ 187 
BELFRY OF THE CHURCH OF BRANTOME........ 205 
BELFRY OF THE CHURCH OF MONTYJOIE......... 205 
BEzIErRS, OLD CATHEDRAL OF ST. NAZAIRE AT.. 199 
iseOrse ADAGE AT LAQN 502. 0% 26 cscs oars ees 121 
BRANTOME BELFRY OF THE CHURCH OF......... 205 
PieemtecAte OF AT DINAN 2.6.06 ee ees oe oa 159 
CHAPEL OF THE CHATEAU OF VINCENNES.. 139, 141 
CHATEAU OF PIERREFONDS ....... 1295, 131 133 e135 
CuHorr SCREEN OF THE CHURCH AT FAoueT.... 173 
CHOIR SCREEN OF THE OLp ABBEY CHURCH OF 
OU NTE pd a ae Pa he Re Ao 167 
iseercn Ar FaouBT: CHork SCREEN ..... 6... 1:73, 
CuuRCH OF La-CHAPELLE-SuR-CREcy ......... 119 


WIOULENS a(cATHEDRAL OR pr Mina. 56 avs a aN. the ere Bef3 
NANTES) CATHEDRAL OF @ bckiehkis Suis ite «nce Fes Lamers 
PARISH(ATEEDEATAOMAC Cae fat. a c4 0% 79, 81, 83, 85 
OOINBER MUEATELEDRAL CORT ahWeueiettep con kee oisi ones 87 
REESE GAT EDR A LeO Ries ietaets iron fotos «as 89, 91, 93 
FROMENG CATH EDRATSOF OG: ct fig ce saliva bee 95, 97 
SATs CW AWD Han CTHELED RA gO Lime itn 2) epee ce 99 
Sauaiar IDAs. (CARSON RAE, TS 245 canon boweoudeous 101 
SAINT YE POUR OATH EDRAT OF «(88 ata santa sk 2103 
DEE BUATHEDIAL? O80 Witt 5. acne sche alot aaLOS 
SENS eC ATHEDRAL OF @ Miteny sci eet tan 107, 109 
WOLSSONS £ CA RHEDRALY OF Mente this ts saws es. s 111 
(EROVESROA TH EDR ALA OL Meier ae eel at ett ciaircas lie aus isls 113 
HISTORIQUES 
CIUR CH: ORs OARROUMILBU seieuyacicieere meee ee earn 201 
CHURCH OF NoTRE-DAME AT CLERY ........... 189 
CHURGH OF NOTRE-DAME AT DIJON .05-.e...:; 75 
CHURCH OF OMONVILLE-LA-ROGUE ............ 157 
CHURCH OF PONTORSON ..... Sia nee A IN ede 147 
CuHuRcH-or St. Mactou AT ROUEN ....... 169, 171 
CHURCH, OF) ST).QUEN ATEROUENT.00. 455 ).% 60 161 
CHURCH OF OF. URBAIN AT: LROYES ot saves. «ctr 183 
CHURGH. OF MEILEARD( Seri t cw ens Om pono R ta Marc YS 
CHURCH. OF al OURS sae aa cuir era mee aelecpe tee 163 
CHURCH OF SVIETLEPRANCHE oc. . camden | seo k 
CLERY, CHuRcH oF Notre-DAME AT .......... 189 
CLOCK JIOWERCATSA UKERRR ss oc ekire mt i a eee 185 
CLOISTER OF ST. JEAN-DES-VIGNES ........... eu 27 
CONVENT OF THE JACOBINS AT TOULOUSE ...... 203 
CORDES FO Wine TATE rAcione teat ot cemene re ianeten nea: 213 
Dijon, CHurcH OF NotrE-DAME AT .......... 175 
DINAN OUNGEONW OR te tena a eee tae ee reels Palos 
FECAMP, CHOIR SCREEN OF THE OLD ABBEY 
GHURCH. OR yeiiict athe es a tee eee ae 167 
GATEVOF BREST ULDINAN: cee cae te ee te oes 159 
GATE.OF OT. JACQUES AT PARPHENAM Cf fan cst a.c 5h 09 


INDEX (Conztnued) 





HOTEL-Dinv, OR Hosriran, Ar BEAUNE........ 187 
JACOBINS, CONVENT OF, AT TOULOUSE .......... 203 
LA-CHAPELLE-SUR-CRECY, CHURCH OF ........ 119 
Ibo Bitsietoyse, LYNNE) OI So o560phandponscap ws 121 
TLARROUMIE UY GHIURCHS Oy) ate nant Aiea nar 201 
Lava Crosses aT St. NECTAIRE, ROYAT AND 

SP GERGUESI, orate tree Cae ena ee een ana e tes 193 
Lioc- Dirt) On: ABBEVSOR =: aaa ie ees 209 
MONGTERCOTOREIS, ISN INNEe NG IIS Gedo oo coo ox 191 
MontT-SaInt-MIcHEL, ABBEY OF ...... 149, 151, 153 
MonTJOIE, BELFRY OF THE CHURCH OF......... 205 
Norre-DAMEy CaurcH OF Ab ClLERY ile 189 
Notre-DaAmr, CHURCH Or, AT DITON eo: 175 
OLDEABBEY OFs20C=)) iE Une ace wien eee 209 
OLp CATHEDRAL OF ST. NAZAIRE AT BEZIERS ... 199 
Otp HotTet-Dieu, or HospiraL, AT TONNERRE.. 181 
Orn eHOUSES AD AE ROVING meine spree meticnetoy te reeeete 143 
OMONVILLE-LASROGUB Ss GEU REED E Ob atlas meee 157 
PALACE OF THe, POPES ATLAVIGNON . 2 Sale «ste 195 
PARTHENAY, GATE OF ST. JACQUES AT ......... 159 
PIERREFONDS, CHATEAU OF ...... 1202-131, 133, °%35 
PONTORSON SCH URCH SOP Wet othe) 3p ki ee oe 147 
Priory oF SAInt-MARTIN-DES-CHAMPS......... 125 
EROVINS SOLD HOUSES MATa a tue. «enn eee 143 
RAMPARTS: OF “A VIGNOMS San omer ci ee teil 197 
RovEN, CHURCH oF St. MAcLou. AT....... 169, 171 
Roven, Sts Quen s CHURCH ATA eee once: 161 


ROVAT LAVA, GROSSMATnE , ee men one eee a LOS 
STs ANTONIN, [OWN - HALE. OF 6 ohar. oe 207 
St. Cirngues, lava: CROSS ATs = set cee ee 193 
ST: JACQUES, GATE OF;.AT PARTHENAY Suen 159 
ST. JEAN DES VIGNES, CLOISTER .. ...0,) eee 127 
St. MActou, CHURCEH.OF, AT ROUEN soar 169, 171 
St. MartTIN-DES-CHAMPS, PRIORY OF ...... 123 9025 
St. NAZAIRE, OLD CATHEDRAL OF, AT BEzIERS.. 199 
Stu NECTATRE 1A WAR CROSS EA Tuan Pee rh Pu 8: 
St. QUEN, CHURCH OF, AT ROUEN’ .. eee 161 
ST. QuENTIN, Town HALL at 7..55 eee 145 
St. SERGES CHURCH AT ANGERS 7. e eee 155 
St. UrspAIn, CHURCH OF, AT TROYES aa) eee 183 
SENS, SyNop HALL oF THE ARCHBISHOPRIC 

AT “5 yh afd Ses ea odie ieee A I77pAs9 
Synop Hatt or THE ARCHBISHOPRIC AT 

SENS ©. s j:ag\du'b oe ecu g 2 a 177, 179 
TILLARD, CHURCH OF 4.2. 4. -e me ae ee 
TONNERRE, OLD HOTEL-DikEu, or HospiTat, at.. 181 
TOULOUSE, CONVENT OF THE JACOBINS AT...... 203 
Tour, CHURCH OF .¢.,./. J.4) .9 eee ee .. 163 
Town Hatt at CORDES 2.00 2. ; 215 
Town Hay. at St, ANTONIN | 72 )aneeee Nmap hhy 
Town Hatt at St; QUENTIN Foaeee Wie kiss eee 145 
TROYES, CHURCH OF ST. URBAIN AT ....... tas Lee 
VILLEFRANCHE, CHURCH OF ., ./.)ee ene 211 


VINCENNES, CHAPEL OF THE CHATEAU OF...139, 141 


abit DE SsRPEANCHES 


(CONTRI SUDA) DANG Ib Geen A er 13 
PERMA DY AUBY So )40-5)2 i) os die bee se gine ds ils 
CATHEDRALE D AMIENS ........... Vago Boe 23,029 
MrerOne AEP Oe DAVEUX © cea s ws vb es see ete 27 
CATHEDRALE DE BEAUVAIS .......... 2O 3 133055 
Pra emmarnn ie BORDEAUX 2... 6c cece see 8 ee oe 37 
CATHEDRALE DE BOURGES ......... 39, 41, 43, 45, 47 
GAC MEDRAREODE: CHAMBERY ...05sc000eeewe ee ode 49 
CATHEDRALE DE CHARTRES ....... Be 5557 Sao 
REO PP VREUX 2. cw ec wee 61 
erin mm AtEm LIMOGES 23.0.6. 605s eee ees akan 
Were nrain pe NMEAUX ........ 60.05.0005 65, 67 
Mee SDRALE DE WIENDE so... 26s es kas sale ass 69, 71 
eCRERO DIATE MIE IVIOULTINS: asic cerdisu-e se on oe eve viele 73 
Gere rurALeepe NANTES [00.0.2 0.00605 To Le 
PRO ORALE DE ARIS 5.0.1.5. 0000s 79, 81, 83, 85 
CATHEDRALE DE PEST esha a ce oy kes, cons 87 
TEMPCIENERLM OE REIMS 26... ce cece cveee 89, 91, 93 
GOR AME NDE BINOUEN. o.0 cs se en oe ete ewe nl 95, 97 
CASE EDRAUE DE SAINT-CLAUDE ../.......... 99 
MetemmeALhIOn OAINT-DIE )..........82c000 101 
(APA EDRATE DE SAINT-PLOUR ....0.05 6.00.0... 103 
CEG RID RATING eS BIZ Ge sec ces csicue s Gos a ecee we 105 
PeeCPPMRATE DE SENS... 0s os cee c sc bewe ee ae 107, 109 
(eT PIEDRATE DE SOISSONS ... 0.26.0 veeecee ees 111 
(SAEED RATBNDES DROVES... oc cicdwielac ele sees 113 
Poursn oD AUVERS ...... EAE oan Soka Ragin ee coh LZ, 
Per erepe iA OU APELLE-SUR-CRECY 2.004.560: 119 
Pern Se VECTLE ODE: LAON 4.0.0. cc ecceee cee cee i21 
ANCIENNE ABBAYE DE ST. MArTIN-DES-CHAMps. 123 
PRIEURE DE St. MARTIN-DES-CHAMPS .......... 125 
CLOITRE DE L’ABBAYE DE ST. JEAN DES VIGNES, 
OSS IS ae ee Ne B27, 
CHATEAU DE PIERREFONDS........ L205 Sie 145 loo 
ET TLARD ox; F. Oeises. areas wot oiane as 137 
CHAPELLE DU CHATEAU DE VINCENNES.... 139, 141 
Wairitpes NAISONS A..PROVINS 3.00.5. 05 5.0% eed 
PLOTEL-DE- VILLE DE OT) QUENTIN: .:.cccdscs 2 5» oe 145 


ReMCSr MER GN TORGON ie thle he ccc Wem ee eee 147 
MONTE oOMUNT IV TCH Rivne, .cvecw osc oh 149, 151, 153 
ECHISh oT MarRChs AN AINCHRS tn teat. Wwiheies 155 
ECLISE D OMONVIELE-LA-ROGUE. 21: Ji..5..4. mas 
PORTES OT. SPACOUES An PARTHENAY 0.86 i. oo: 159 
PORTHSDE DRESS Tn DINAN vee ta oh daa ate ets ts 159 
HGLispesT MOWED ROUEN... ati owe 161 
ICSE Re DOW RI Rake tie lt See Oe ee nes oats 163 
GN TON ne dL INCAS 9s neg nian, actus eee tee Tae 165 
JuBE pE L’ANCIENNE EcLise ABBATIALE DE 

TRE GARDE AO ce See, ENT bas, So mer ne ta amg 167 
DELISE. STEM ACLOU. ROURN a... ees oe. 169, 171 
PURE DE ECL inm ne MAOIET Se MS IM tates oo 173 
Petrse NOTRE-DAMEIAD ISON? tice tras kook tebe 175 
ANCIENNE SALLE SYNODALE DE L’ARCHE- 

AES CETERA ES EAN See RNY nS oe eet ene ge ee 177, 179 
ANCIEN HOtTEL-DiEU DE TONNERRE ....!...... 181 
BOMTSE* OT URBANA PROYES 5 Gu teir eee oie ne 183 
OURS DE VEE LOREOCH Ne USCERR berate ats eee 185 
HOTEL DIR De RRA K14 vig a fa as w Sve Mele 187 
PCLIsnsNOrRE DAME A CULR VCs one eee o ack 189 
RATION HN T Dir DES VA GECOULIG nk tiie ae les le 191 
CROIX-EN LAVE DANS LE PUy-pDE-DOME ........ 193 
AVIGNON DD AIEATSE DIG? ARn Sue ei te a, ochre ae eas 195 
REMPARTS ID, AVIGNON Nee cme cers ae 197 
ANCIENNE CATHEDRALE SAINT NAZAIRE A 

IBRZIERSG teeny eR RD Varn ats Et Ret RiC Jaw mie att sR 3 199 
EGtisk pr LARROUMInG ae ee ee ae 201 
LE CoUVENT DES JACOBINS DE TOULOUSE ....... 203 
CLOCHER DE L EGLISE De BRANTOME .....a.5-.. 205 
CLOCHER DE L{EGLIsSE DE MONTJOIE ..-.-....<. 205 
TLOTEL-DE- VILLE) DE. OTe UB NEEN hurr tee, ee 207 
ANGCIENNE GARB BAY EY DES lsOG= lO lease eee a ieee 209 
PeLISE DEyVILEBERANC Mm met: ieee Zi 
HLOTEL-DE= VILE DEO GORDES 4 ya ae ee ee ZA3 








Errata: On page 33 “arbres” should be arbre, and 
on page 61 “Eureux” should be Evreux. 








The LIBRARY of ARCHITECTURAL 
DOCUMENTS 


Other volumes included in this series: 


ARCHITECTURE TOSCANE 


By A. GRANDJEAN DE MONTIGNY 
and A. FAMIN 


Dee SPOUY 


One hundred selected plates from 
FRAGMENTS D’ARCHITECTURE ANTIQUE 


and several to be announced at an early date 


v 





@evHEDRALES DE FRANCE 





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ihe wOR AIZE SDE FRAN CE 





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Gea oT? Pens: Re ASE De ee EoR APNE GE 





37 


(GIRONDE ) 


CATHEDRALE DE BORDEAUX 





Sas hae es 
e 


154 
wis: 





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= ~ = >? al, 
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48, 





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SP Stsasuedy 


IMS 


adno5 





39 








Va 


Gere Hee DR Aster, S>)D, Ev FoRSA N°C E 











( CHER ) 


CATHEDRALE DE BOURGES 


41 


_ vo Te a 
; ne ae | 
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i 
a 
- 
. 
» 
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Cre phe ReA cbs “fb BalbEeR AON- GE 





CATHEDRALE DE BOURGES (CHER) 
Abside 


43 








fe 


Oe were eR ene Ly bio Ds hi Re AaN CR 








CCHERS) 


CATHEDRALE DE BOURGES 


-Droit de la Porte du Porche Nord 


Pied 


45 





Gee iptekh DIRS ES eDiPe ERAN CE 





CATHEDRALE DE BOURGES (CHER) 
Portail Occidental 


Tympan de la Porte Centrale 


47 


a 


ee eReASeh. 5) 1)-B Ss FeRSA-N Cok 








( SAVOIE ) 


CATHEDRALE DE CHAMBERY 


49 





ty 


a 


‘haa 


re ween, 


Pe ee 


PRs 


a ee he ee 





‘ 





7. 


OP Op iter meh Agen Wiha Th RAN CH 





CATHEDRALE DE CHARTRES (EURE-ET-LOIRE ) 


51 


Va 


Crow ets OtRe neh. SD hah RAN GE 


eam a 


hep 


Bik « moyen, 





ET-LOIRE ) 


( EURE 


CATHEDRALE DE CHARTRES 


53 


Sea ee eC Cl 


« 





va 


CPs ohieee Dake i See Hart Ro AON. Cok 





LOIRE ) 


- 


Fea 


DRALE DE CHARTRES (EURE- 


E 


CATH 


he Nord 


C 


rs aw Por 


Pilies 








ad 


eo le ety) enero Daher REACN CoH 





ET-LOIRE ) 


CATHEDRALE DE CHARTRES (EURE 


1 Royal 
de Pied 


t 


Porta 


tt 


Dro 


Decoration 


BY 





I]DAJUID) IJAOT VD] Ap uUDgud [ 


[otoxy ]1v140 J 
(AMIOT.LA-auNA) SAYLUYVHO Ad ATVYCAHLVO 





RL oN Verthaths pole Clee Sect «Viral Clee: EL avian 


59 





Ta 


Chl Remo ee Ra OIN CH 








61 


CATHEDRALE D’EUREUX (EURE) 





CHACEH epee bakes: De (bh ReAGN GE 





63 


(HTE VIENNE) 


CATHEDRALE DE LIMOGES 


i 





Ge elstisb.D Revie ES D°ErER A NCE 





CATHEDRALE DE MEAUX (SEINE-ET-MARNE ) 


65 


Va 


Oe a pile eRe site) Lee Fe AN: GC E 





MARNE ) 


CATHEDRALE DE MEAUX (SEINE-ET 


67 


on 





7. 


yee DR Agine oel shine Re AwNuC fo 


69 


ae 


HH 





( LOZERE ) 


CATHEDRALE DE MENDE 








CoAT Pile ReAtees Dek ok RAN GE 


71 


epee rte 


i aBngenae nai tome se 


| 
| 


53) 4808 
sles 


tee eA eee 





GEOZERES) 


CATHEDRALE DE MENDE 


#75 





r 


Cre ris) DER TAG ES el) ea PeRe AUN GE 





CATHEDRALE DE MOULINS (ALLIER ) 


73 





iL 
i . 
2 et 
‘ 
’ 





7 


CP mein Di ReneialS 1) bor RAN CE 





CATHEDRALE DE NANTES (LOIRE-INFERIEURE ) 


75 





va 


Oe eietigie Reav le Hove he ee RvA IN Ck 


"Gccwoesanecne odie snertsnn Poneman eae 


voeecon oe 
<n ont SBN ach CeO ng NO 
sarang re 4 - ——- 


. stp = — Sov sssnonaeunnarncvor nc euinoecaanbaed nssbonanennnieaseanenoananitatan-ooneaesen 


Sn PO TN NN NS SNE A POPE me 


eco umemnaeneciarel 


ih Rhein nina na wae oes 


wate tas I ECARD RC 


S 
' 


& 
1 
4 


e 


ry ane Fy 


© song gcse hay 5 
at 


ewe thet mee 
ma Rt mie 


AMO TS oe 


ree 8 i be 





) 


INFERIEURE 


CATHEDRALE DE NANTES (LOIRE 


hel 





. 


va 


 ietebiseaD RUAgD se Se OIE FRAN CB 





CATHEDRALE DE PARIS (SEINE) 


79 





va 


Oe elise eRe oD tk IR AUN CE 





(SEINE ) 


DRALE DE PARIS 


CATHE 


Rose du Transept Sud 


81 


oT 





ophile (Fin XIIle Siécle) 
L’ Abside 


ord d 


Mir Extéricur 


Va 


CATHEDRALE DE PARIS (SEINE) 


La Légende du Moine The 


= 
Ss) 
Z 
<x 
a4 
eg 
ea) 
a 
Sp) 
cal 
4 
x 
ad 
a 
(1 
an 
a 
<x 
O 








ia 


Cree een pRoAgie 5 21g ost RA WN Grp 








CATHEDRALE DE PARIS (SEINE) 


Contreforts et Arcs—Boutanis du Chaur 


85 





va 


CoA PRE DR nelai ot aOoH ok RAN CFE 





87 


CATHEDRALE DE QUIMPER (FINISTERE ) 


ea 4 





Ea 


Gare ie Higee iD Revs Leow DE =reRTAUN: Cer 








CATHEDRALE DE REIMS (MARNE) 


89 


ap? 
— 





a 


CAAG le Lima Dahan) fH oe DER Oe hsRAALN: CLE 


a EN Ko REL PRE ELT 9 


Secs 6 
reccosespesesconmecrrmovenesenseomrrarenescen Pe 


ae ee cionaiaabicieiniaiiassidbiadtiasieslbbodiinid 





(MARNE ) 


CATHEDRALE DE REIMS 


9] 


corant La Porte Centrale 


Portail Occidental 


CATHEDRALE DE REIMS (MARNE) 
Statues De 


os 


eal 
O 
Z, 
<x 
ad 
, 
eal 
a) 
Sp) 
eal 
= 
= 
a 
a 
a 
an 
— 
< 
0 








DORR alee ateerak A IN. Cre 


Va 
En 
a7 


CVA Dee a 





INFERIEURE ) 


CATHEDRALE DE ROUEN (SEINE 


95 





pied 
‘ 











— —- _ a ee oo _——o ed, OO ee a ee ~ 3 yes 








TEN 


ay WSR EAR He 


INFERIEURE ) 


( SEINE 


Ke & Ss 


Shel ¢ ‘ ; f 
Es a he x eee aa. £ 


Portail Occidental 
Pied-Droit de la Porte St. Jean 


a 


CATHEDRALE DE ROUEN 


4) 
O 
Z 
<q 
ad 
fx 
ea 
Oo 
op) 
ca 
a 
< 
od 
A 
ca 
an 
- 
<x 








A Sine es 


1 SAR 


(Vent) AGAVWTIO-LNIVS AG AIVYCAHLVO 





Bo NW cel cal Cy eset Vel ee ota een) 


99 








4 

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+ 
s 
ter 
, 
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(SHADSOA) ZIG-LNIVS 3d ATWYCAJHLVO 


palate 


* 





LAO Scie elo eek evict tt) ile dye ac) 


101 


“ 





(CANTAL) 


CATHEDRALE DE SAINT FLOUR 


ea 
O 
Z 
<q 
a 
fy 
ea 
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Sp) 
ca 
4 
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Oo 
a) 
ea 
a» 
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UO 








va 


Cole rip be DR AS Lerse. “Dk, “FRAN GE 





105 


CATHEDRALE DE SEEZ (ORNE) 





_ - a "4 rae)“ ai 
Pie. Eten rads a 
» > 
ae 5 
ae i 
7 
bh 
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. 
5 f 
i“ 
; 
4 
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ua 


oe eet eRe elk alk. | FPeRVAN' CE 








ves etme 


POT. i, 





( YONNE ) 


CATHEDRALE DE SENS 


107 





s 
-. 


Oriel eign eDeReAvier SDF) FR ANCE 





CATHEDRALE DE SENS (YONNE) 
Rose du Transept Sud 


109 








(ANSIV) SNOSSIOS AG AIVYCAIHLVO 




































































































































































IN Vee 0 Cees Ve the Gl ey el bey ca) 


111 





va 


DMA iee some we Re AN tG.E 


25 
4 


Gea eri 





) 


( AUBE 


CATHEDRALE DE TROYES 


113 





MONUMENTS HISTORIQUES 





(ASIO.LA-ANIAS) SYAANV.dG ASITOd 


‘ey Mas aanos 





Whospansbmenasagmee||\. 






































S.4 1.O Le OS ee Son N ot Wie geN Ou 





117 





sna 


rape 


Sait os 








uorpeodsicy 


* 
Bi 


7 


(ANUVINLA-ANIAS) AOFUO-UNSATTAdVHO VT 3d aAsllog 


83459 OF 


dAOO 


f 





ATTY NTGALIS NOT 


Gu f)- OL al Onis bh eee LeNea IN aN ON 


AdAOD 





yal 06 











119 





nn erie 





NEOUNSU SVG ON o> HelSs OR TO UES 





Ldhelle Ges 














sopaL pe LFAON - 


TAT BM LABG 


SANCIEN PALAIS BPI 














tte 





ie eh em 
i Re BE 








cove vast 








CHAGSSEE FLAN OU PREMIER ETRGE 





st nS Tat rei 


Pests P Bienr. ie 
Dae en) 





ANCIEN EVECHE DE LAON (AISNE) 







sali: 


mee 


iad Ro. 
“4 


t 





210d prob xv¥peistub 


SdNVHO'SAGNILYVW “LS AG SAVEEV ANNAIONV 


Cnr ap epee 
1 See 








MOTEL IPDS BO AITO 
emneape 


= 


{Stare rammucrarvmen wcaersserosnect {{* 


* slrepw-ab- sala sho Puoatskibduob na 
we basoviaisy 2upwbrIpnepy” 


aes plioapbabir na biskbowr bao 3 
- * Sfovup-sbd-ueuvoss’ pivaay puapibay 








SOU iGaly Pao aaNh IA pony 











pubpes paob xneberdap 


123 











- 5 enteane Deg SF MARTIN | 


gnagontg xonenei(( UMS. 





pum. pe 1A mom 


MON UM EN To eHIs TORIQUES 


PRIURA DF SF MARTLL-D4SGChAQRS . 
ANGIE KONYIBIEE . 
Rice Siddne . 








she 


j * 
f \ ( mdyare vdapedd niet 2 
f X ’ 


wade Tenadand Be FB 








PUAR Wo-d. 


ume sR 


rain souat AB 


Rehoboth ts 


ae 





as - qhAQes : 







AqHAT UAT ER - 







, aaa 





PIN 





eater sat 8 


PRIEURE DE ST. MARTIN-DES-CHAMPS (SEINE ) 


125 










( toare HERG Ee 


dod ned Udan ised 
Pe UA, GUreLAR AT 





(ANSIV) SNOSSIOS Y ‘SHNDIA Sad Nval ‘LS aa SAVddV.1 AG AYLIOTO 






DESMAN hey 


reece oni 














5 (pasty) suoseiog: SpUuaL Sea uvep Fg ba. bGreay pa 








SH oDO Tat Oc Sal esl Neg WAL aN OA 


127 





( ASIO ) 


SCNOSSAYMAId Ad NWVALVYHO 





129 











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Fhe oe 
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( aSIO ) 


SGNOASYMMAld AG NVALYHO 








131 





, 2 é es ‘ 
Li . J ¢ 
’ 
: : 
i 
oy a 
« , 4 
TA ‘ 
2 » 
2 
y 
7 
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WitOeNeUeVier Ne Se teloel OR LO UES 








Sele eer 


ine de niveau 


rf 











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5 sg 
© * $ io metres 


CHATEAU DE PIERREFONDS (OISE) 


133 





= 





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a 
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WEORNGWsVisl Neto etil Sst ORL © Wi KS 





CHATEAU DE PIERREFONDS (OISE) 


135 










¥ 
9 
som 
Oh eee 
et .— 


ei 


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pt 
& 

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au 





* 
ms a 
(4sIO) GUVTTIL Ad ASITOF 


BIWusivi Javavy 


BwslviMa sovovy 


al 


ates | 


ape 


ee 








AI SHSASNWHL aunoo * BIVNIANLIONOT aadNo0> 


137 


SLN3DYYHD W7 30 Tvi30 


sorwugs> sans@Nas S70) ANA 

















FoF 


“) CuvTHy, ad asi197y 






Oe as ae 


SEGRG UG hr GOW is ible! SLNAIWANOW 





ViE@e Nee VislaNs lesesticiis MORO Uns 


Rai 





COUPE LONGITUDINALE. 


DE OLGE 


i 


a is 
EL 
CaP ER SRA C AOE Re 


SIONALE. 


MER 


E 


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CHAPELLE DU CHATEAU DE VINCENNES (SEINE) 


139 








VeOuNe UW MeboNUD so. His TOI RTO UES 


























CHAPELLE DU CHATEAU DE VINCENNES (SEINE) 


141 





MELON UeVieb INeiesediael SiIeO-R lO UES 


FAQADE PRINCIPALE SVR LA RVE DE: JOVY 


19 nvetios 


ye: te 


CMilbe basse’! 





VIEILLES MAISONS A PROVINS (SEINE-ET-MARNE) 


143 


Vit Oa NeCeVicbaNe Te el Sek ORL OtW ES 





HAUSSEE 


R-~e 


L 


‘DU REZ- 


PLAN 





sree 


Sep rouRcdeccanaeee ck 


(AISNE ) 


HOTEL-DE-VILLE. DE ST. QUENTIN 


145 








ae ae , 
¥ Nah Be ae 


md hoe 
ae oe 


a 


fy 
; 
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: 


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a at ot 





ee ee 


be ia il icant 


WEOUNGU Mer Net oe Holes O:R TO .U Es 





wows BSP SEG! 











FACE OVEST ‘COVPE SVIV? AB  COVPE 


9a Ce SE A 
39 6S Gy Sw a oy 


Lik 
orate 
scsi 
she 


—— 


EGLISE DE PONTORSON (MANCHE) 


147 





Svivt CD 


(AHONVW) ‘TSHHOINA-LNIVS-LNOW 





GAD NW W J 


TAHOIW 





SHNOIYOLSIH SLNAUWANOW 


LNIVS - LNOW 


149 





oo we = 
id: 
4 
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: 


7. 
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(AHONVW) TAHOIN-LNIVS-LNOW 


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wok ye Romy 


S40 O11 UY OLS eS LIN aA ONO W 





151 





4) 








ems e , 
9 e 


wr Ay 





(AHONVW) TAHOIN-LNIVS-LNOW 





= “AAVOGWO! 3G 33¥LNG7 aa 13 
| fren 2evse4) araANay vI-3G Stiviag 





WSs ee tea 
































TAO NI SS LINO Ww. 


SRO WOM eet O a bole UES SLNAWONOW 





153 























(reer es ) 








(AYIOTLAANIVN) SYADNV YW SADYAS “LS ASITOF 





@aMAVLSAU AIvdiONiud advow 





SIT ENIGAQISNOT Z1A09 








Set) O<L Or. eSst Tee eNG ace ONO 





155 








BAS AdAGO 





AIVNIGALIONOT GBdAOO 








(AJHONVI) ANDOUVTATHUANOWO.C ASITOS 


isa gavdva NW 1d LSHAO Savova 











Q2Q2I NA Iva 


: + et PNW 
ANDOU-V1I-ATIMANOWO.C 
ASIIO4 


S41 OIRO eS 1 78 cL NU aW fie N Orn 


YADHO AT SHSA 


adA0o 








157 


(GYON-NA-SALOO ) 





NVNIG VY LSaYd AA ALYOd (SHUAISXNAC) AVNAHLYVd Y SANOOV! “LS ALYOd 
: ; SHAG 
AG NWId 















Nv¥NIiG ¥ 
REG Cale eS Gi! 








Sag fe Ra eee te 


ee: wengy ay a9 of 
SxyniesK> 


Seet. Ne 





o AVNGRB 
PR 
pee ot 


et 





SI: <0) Tela ts Geb bee (OND eN UBD TUNE Gaal 


159 


isl eSaleOekn ie: U Bxs 


WO ENS UVB Ne TS 





ALBLALTALE 


UCLISL, 


LE 
Ov 


, 


Pa 


&) 


ROUEN: 


A 





(SEINE-INFERIEURE ) 


ROUEN 


A 


EGLISE ST. OUEN 


161 





My 
‘ 














(SOGVATVO) YNOL Ad ASITOA 





{ SOGVATYO ) 


Se tage CL a la 





Siete OFT SiO o1 as oe Le NCaL A oN SQ 








q - 
ye, : 


ay Meo | 














163 



































(GYONNAdSALOD) NVNIG AC NOfNod 


HOVLG wl Ad NWid 








DROS IN GC 


NYNIC 





So OO OSS eles S LoNe a Ae ENS GOT 





165 














DEO UNO VisEONi SH lL Seh OR LO UES 








TERALE 


A 


iL 


ie 





FAC 


£.met 








VERS LA. NEB 


LEVAT 


10ON 


E 


JUBE DE L’ANCIENNE EGLISE ABBATIALE DE FECAMP (SEINE-INFERIEURE ) 


167 


a 
es nb 
. ‘ 
* 
» 
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< 
id ‘ 
> e 
. 
” 
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NOUN. UV ONG SS SH Tse IeO Ral OQ: USES 








a Rouen 



































ROUEN (SEINE-INFERIEURE ) 


EGLISE ST. MACLOU A 


169 


















i 
ae a oe 


Cae ieee 
Bee iN oe te 
ie Sass 





WIEQOEN: VislVisi NCIS aie So14O Rel OU ES 


Gilise S! Dac 


 & Tourn 


Gransepl DQaxd 


x] 
iy 







































































COUPE TRANSVERSAL 


















































+> SO ey) | ros OBER a 
41 ben 


(SEINE-INFERIEURE ) 


EGLISE ST. MACLOU A ROUEN 


171 


a ee ee ee ee ee ee ee ee ee ee 





NMeOuNa WBF Nel tabislisel O-Rel © U.E os 








NET 





hyetrrterth—— 
1 Us) 


JUBE DE L’EGLISE DU FAOUET (MORBIHAN ) 


173 





DIEGO ON -USMEE ON heoee Fats: eG) RIC OcUFE.S 


Belelle dé ty, Coupe 











: 
« 


Seed, 








eink er RI 2 


met 


Sk 2 


4 


OSS PYLE. 
SN 


i 
& 


FACADE 





it] 
aeseeth eed el 


DN 


175 










A DIJON (COTE D'OR) 


EGLISE NOTRE-DAME 





aM 


a 


NWEOSN UM HONS oe TS. TO. Rau) Ue ks 





177 





(YONNE ) 


ANCIENNE SALLE SYNODALE DE L’ARCHEVECHE A SENS 








(ANNOA) SNHS VW BJHOSASHOUV.1T AG ATVGONAS ATIVS ANNAIONV 








GW SUL UW 





UAS SIVNOIMINUW Wavows 


Sth O Onl: Sei eso aN ae en Osi) 


eh 


» 


L 








179 





VWEOrNSUSNIZDAN SI Serio OREO UES 


PING IN OB a tay 


DE TONNERRE 


(YONNE } 









Shee Te ge eget 
PLANS 


AW PARTIE INFE = PE LIABSIDE 








B PLAWA DA HAVTEVE DHS FENETRRS 


© PARTIE DEMOLE 





SGVPE. DONGITVDINALE enhnlasea eect eg \ 





ANCIEN HOTEL-DIEU DE TONNERRE (YONNE) 


181 





ay | 





¢ 


ye, 


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(AgNV) SHAOUL VY NIVEYN ‘LS ASITOF 











i! 


ie 
I 
so ee 
| 
a 

















BUSEY T BE STL AL 
(ry) Saxon, 


NIVEYAGS ASTTOS 


FRAN TIMI TT 





CW) OI Osis He SaleNet WGA eN OA 








183 





NieOoNSURVIEE NMI Ss elie SiO ReO UBS 














(YONNE) 


AUXERRE 


A 


TOUR DE L’HORLOGE 


185 





T= 
nhc ot 
Ney 
= - 
o_ i 
3 
i 
t 








(YO.daLOO) ANAVAd AC NaIG-TSALQH 








CeO DetlO si Sele ees eNe He NaN Oss) 





Ir eNer= 
mE 


ied sgn, 7 
megs 


UIIET MIT PYOeT 





187 


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